Jean-Francois Millet: Picture ‘Haystacks: Autumn’ (around 1874) in museum framing

Jean-Francois Millet:
Picture ‘Haystacks: Autumn’ (around 1874) in museum framing


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Limited, 199 copies | Numbered certificate | Reproduction on canvas | Canvas stretchers | Museum framing | Format 69 x 55 cm

Jean-Francois Millet: Picture ‘Haystacks: Autumn’ (around 1874) in museum framing

The French masterpiece of the 19th century from the Metropolitan Museum of Art in New York for the guests in Berlin, the Neue Nationalgalerie, from June 1 to October 7, 2007! Accompanying this exhibition, there appeared the most outstanding pictures of the exhibition in the limited edition of only 199 copies each: the high-quality museum reproductions were made by hand on the real canvas and stretched with the frames. The canvas structure is perceptible and visible. The brush structure with relief was lavishly applied by hand. A vintage solid wood frame emphasizes the exclusive look of the picture. With the numbered limited edition certificate applied on the reverse side._x000D_

Original: oil on canvas, Metropolitan Museum of Art, New York._x000D_


Painting reproduction on canvas, Limited edition of 199 copies. With solid wood museum framing, as illustrated. Format 69 x 55 cm.

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The style of Impressionism that emerged in French painting in 1870 owes its name to the Claude Monet's landscape 'Impression, Soleil Levant'. After initial refusal it began a true triumphant advance.

Such painters as Claude Monet, Edgar Degas, Edouard Manet, Auguste Renoir and others created motifs from everyday life, urban and landscape scenes in a bright, natural light.

Impressionism can be seen as a reaction to the academic painting. The emphasis was not on content with its strict rules of painting structure, but on the object as it appears at any given moment, in an often random cut out. The reality was seen in its whole color variety in natural lighting. The studio painting was replaced by the open-air painting.

The brightening of the palette and the dissolution of firm contours was accompanied by a new way of handling with color. Often, the colors were no longer mixed on the palette but side by side on the canvas so that the final impression lies in the eye of the beholder with a certain distance. In "Pointillism", (with such painters as Georges Seurat or Paul Signac) this principle was carried to the extreme.

Outside France, Impressionism was taken up by such painters as Max Slevogt, Max Liebermann and Lovis Corinth in Germany, and by James A. M. Whistler in the United States.

In sculpture, the impressionism expressed itself only conditionally. In the works of Auguste Rodin, who is considered one of the main representatives, you can see a resolution of the surfaces in which the play of light and shadow is included in the artistic expression. Degas and Renoir created sculptures as well.


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